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 The fifth day of the National Folk Festival comprised the folklore 'Yakshagana' from Karnataka performed by the students of M.G.M. College in Udupi. Yakshagana is the generic name of a common form of dance-drama characterizing the rural theatre of four South Indian States: Andhra Pradesh, Kerala, Tamil Nadu and Karnataka. The Veethinatakamu of Andhra Pradesh, Kathakali of Kerala, Terukkuttu of Tamil Nadu and Yakshagana of Karnataka have the same spirit of the theatre presentation of epic episodes in scenes of song, dance and costume though more secular themes can also be sometimes witnessed. In Karnataka it assumes various titles and forms like Ata, Dashavathra Ata, Bayalata, Bayalunataka, Mela, Doddata, Sannata, etc. Kathakali is a form in Kerala where the function of the dialogue is taken over by standardized
mudras.
 The group performed the 'Lava and Kusha' story. All the performers are men. They dress up as women when the occasion demands. This is set in the time when Sita is living under the shelter of Sage Valmiki with her two sons, Lava and Kusha. One fine day the boys want to go hunting and very reluctantly Sita agrees. During their expedition, they come across Surpanaga, Ravana's sister and she tricks them. Angered by her behaviour, the lads injure her badly and she goes to Vibheeshana, her brother, with her complaint. Hearing her story, Vibeeshana starts a fight with Lava and Kusha but he is no match for them. Rama is called for Vibheeshana's help and there the fight between the father and the sons take place. At this point of time Sage Valmiki's son tells Rama that Lava and Kusha are his sons and there is a happy reunion. The whole performance takes place with the help of dance, song and dialogues. Of all the performers, Surpanaga steals the show with her costume, make-up, expressions and her terrific movements on stage.
 Yakshagana blends elements of music, dance, mime, costumes and dialogue in such an exquisite manner that it certainly forms a total theatre. Coming down as a heritage since the 15th century, Yakshagana has been perfected as a complete theatrical form being played for six months in a year to regale, instruct and edify the rural masses. Themes or 'Prasangas' are usually drawn from Hindu epics like the Ramayana, the Mahabharatha and the Bhagavatha. Gorgeous costumes befitting the epic heroes have been designed by anonymous artistes of yore. The music of Yakshagana, relying on South Indian and North Indian classical music styles, has preserved distinct characteristics of its own.
 In Karnataka there are many varieties of Yakshagana, some played intermittently and some
continuosly, some dealing with epic characters, some others having secular themes, love stories and romances. Artistes are drawn from among the rural people: oilmen, farmers, carpenters, temple workers, etc. Thirty years ago few had formal schooling, but now-a-days one can see pundits employing their verbal felicity to impress and astound the audience. Until the 1940s the performances were free for all, being played free at the command and expense of the local landlord.
Though originally a rural form of theatre Coastal Yakshagana developed over the years into a fairly sophisticated form of dramatic presentation which could rival in its artistic quality and popularity the two major dramatic presentations on the stage, Bharatanatyam and professional drama. Of course it could never become classical with standardized mudras or gestures as in Bharatanatyam or Kathakali. The extempore dialogue which is woven into the scenes between actors, who often change their roles on the stage and the innovations in singing and acting give it immense scope for perpetual renewal and
 hence never does the performance become stale or stagnant. Effective voice training could make the songs and dialogue harmonize with the vigorous dance steps and gorgeous costumes succeed in transporting the spectators to a spectacle of fantasy and imagination.
The ushering in of modern technology and its application in all walks of life led to a gradual change in the performances of yakshagana. The electric lights replaced oil lamps and threw too much light on all aspects of make up and costume including strands of jute used as plaits of hair on the tainted teeth of a Rakshasa. Excessive dramatic effects like bringing in live elephants on the stage were introduced for the sake of novelty and have become part of the strategy to attract crowds. Though the trick works to a certain extent, it soon results in the degeneration of the art into a series of gimmicks. Excelling in teamwork, these artistes have won plaudits from art critics the world over.
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Pictures : Praveena
Published on 11th March 2002
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